Jan
16
Thu
The Art of Change: An Experimental Opera by Jean-Baptiste Barrière @ Ernst C. Stiefel Concert Hall, 4th floor.
Jan 16 @ 8:00 pm

The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.

As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.

The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.

No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.

 

Performances:

January 16th, 8pm

January 17th, 5pm & 8pm

January 18th, 5pm & 8pm

January 21st, 8pm

 

Creative Team:

Jean-Baptiste Barrière, Concept, Video Design & Composition

Chiara Bottici, Libretto

Ashley Tata, Stage Direction

Timo Rissanen, Costume Design

Abigail Hoke-Brady, Lighting Design

Thomas Goepfer, Sound & Video Design

Camilla Hoitenga, Flutes Solo

Levy Lorenzo, Creative Technologist, Percussion

 

Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu

 

Guest Artists:

January 16: Simon Critchley, philosopher and Joan La Barbara, musician

January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician

January 18: Dmitri Nikulin, philosopher and Ross Karre musician

January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician

Jan
17
Fri
The Art of Change: An Experimental Opera by Jean-Baptiste Barrière @ Ernst C. Stiefel Concert Hall, 4th floor.
Jan 17 @ 5:00 pm

The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.

As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.

The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.

No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.

 

Performances:

January 16th, 8pm

January 17th, 5pm & 8pm

January 18th, 5pm & 8pm

January 21st, 8pm

 

Creative Team:

Jean-Baptiste Barrière, Concept, Video Design & Composition

Chiara Bottici, Libretto

Ashley Tata, Stage Direction

Timo Rissanen, Costume Design

Abigail Hoke-Brady, Lighting Design

Thomas Goepfer, Sound & Video Design

Camilla Hoitenga, Flutes Solo

Levy Lorenzo, Creative Technologist, Percussion

 

Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu

 

Guest Artists:

January 16: Simon Critchley, philosopher and Joan La Barbara, musician

January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician

January 18: Dmitri Nikulin, philosopher and Ross Karre musician

January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician

The Art of Change: An Experimental Opera by Jean-Baptiste Barrière @ Ernst C. Stiefel Concert Hall, 4th floor.
Jan 17 @ 8:00 pm

The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.

As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.

The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.

No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.

 

Performances:

January 16th, 8pm

January 17th, 5pm & 8pm

January 18th, 5pm & 8pm

January 21st, 8pm

 

Creative Team:

Jean-Baptiste Barrière, Concept, Video Design & Composition

Chiara Bottici, Libretto

Ashley Tata, Stage Direction

Timo Rissanen, Costume Design

Abigail Hoke-Brady, Lighting Design

Thomas Goepfer, Sound & Video Design

Camilla Hoitenga, Flutes Solo

Levy Lorenzo, Creative Technologist, Percussion

 

Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu

 

Guest Artists:

January 16: Simon Critchley, philosopher and Joan La Barbara, musician

January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician

January 18: Dmitri Nikulin, philosopher and Ross Karre musician

January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician

Jan
18
Sat
The Art of Change: An Experimental Opera by Jean-Baptiste Barrière @ Ernst C. Stiefel Concert Hall, 4th floor.
Jan 18 @ 5:00 pm

The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.

As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.

The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.

No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.

 

Performances:

January 16th, 8pm

January 17th, 5pm & 8pm

January 18th, 5pm & 8pm

January 21st, 8pm

 

Creative Team:

Jean-Baptiste Barrière, Concept, Video Design & Composition

Chiara Bottici, Libretto

Ashley Tata, Stage Direction

Timo Rissanen, Costume Design

Abigail Hoke-Brady, Lighting Design

Thomas Goepfer, Sound & Video Design

Camilla Hoitenga, Flutes Solo

Levy Lorenzo, Creative Technologist, Percussion

 

Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu

 

Guest Artists:

January 16: Simon Critchley, philosopher and Joan La Barbara, musician

January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician

January 18: Dmitri Nikulin, philosopher and Ross Karre musician

January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician

The Art of Change: An Experimental Opera by Jean-Baptiste Barrière @ Ernst C. Stiefel Concert Hall, 4th floor.
Jan 18 @ 8:00 pm

The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.

As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.

The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.

No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.

 

Performances:

January 16th, 8pm

January 17th, 5pm & 8pm

January 18th, 5pm & 8pm

January 21st, 8pm

 

Creative Team:

Jean-Baptiste Barrière, Concept, Video Design & Composition

Chiara Bottici, Libretto

Ashley Tata, Stage Direction

Timo Rissanen, Costume Design

Abigail Hoke-Brady, Lighting Design

Thomas Goepfer, Sound & Video Design

Camilla Hoitenga, Flutes Solo

Levy Lorenzo, Creative Technologist, Percussion

 

Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu

 

Guest Artists:

January 16: Simon Critchley, philosopher and Joan La Barbara, musician

January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician

January 18: Dmitri Nikulin, philosopher and Ross Karre musician

January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician

Jan
21
Tue
The Art of Change: An Experimental Opera by Jean-Baptiste Barrière @ Ernst C. Stiefel Concert Hall, 4th floor.
Jan 21 @ 8:00 pm

The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.

As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.

The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.

No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.

 

Performances:

January 16th, 8pm

January 17th, 5pm & 8pm

January 18th, 5pm & 8pm

January 21st, 8pm

 

Creative Team:

Jean-Baptiste Barrière, Concept, Video Design & Composition

Chiara Bottici, Libretto

Ashley Tata, Stage Direction

Timo Rissanen, Costume Design

Abigail Hoke-Brady, Lighting Design

Thomas Goepfer, Sound & Video Design

Camilla Hoitenga, Flutes Solo

Levy Lorenzo, Creative Technologist, Percussion

 

Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu

 

Guest Artists:

January 16: Simon Critchley, philosopher and Joan La Barbara, musician

January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician

January 18: Dmitri Nikulin, philosopher and Ross Karre musician

January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician

Mar
30
Thu
2023 Telos Conference: Forms of War @ John D. Calandra Italian American Institute
Mar 30 – Apr 1 all-day

One of the most challenging aspects of the war in Ukraine is the way in which the conflict has been constantly shifting in its form. In the first place, there is a conventional ground war between Russia and Ukraine, in which the identity and will of the two peoples is at stake. Yet Russia has used weapons supplied by Iran, and Ukraine depends on NATO for its own supplies, indicating that this war depends on the maintenance and expansion of alliances. The stability of these alliances in turn depends on a combination of Realpolitik and shared values as the glue that holds them together. This logic of alliances motivates the energy war that Russia is waging with Europe, revealing that, unbeknownst to Europe, Russian energy policy over the last decade was an early form of the war. Similarly, the threat of nuclear war also tests the resolve of NATO, forcing it to consider the values at stake in the conflict. Is the war about Ukraine’s sovereignty or the principle of nation-state sovereignty itself? Is it about human rights for Ukrainians or the entire human rights project? For Russia, is it about self-defense or a pan-Slavic identity? Is it about the protection of Russian minorities in Ukraine or the threat of Western secularization?

The material form of the war—economic, conventional, nuclear—will depend on the way in which the participants on all sides and in all parts of the world come to an understanding about these questions concerning the moral and spiritual stakes in the war. If it is just a matter of giving up Ukraine, then the economic costs for Europe may not be worth the fight, and Russia’s victory in the energy war could lead to a general NATO capitulation. But if the freedom and security of central and western Europe are also at stake, then even a severe economic recession would be a small price to pay for the reestablishment of a NATO-dominated security order. Is freedom worth the risk of annihilation? Is peace worth the indignities and repression of authoritarianism? As the most serious global conflict since World War II, the war in Ukraine risks going beyond the bounds of all other forms of war before it. What are the resources that are necessary for meeting its challenges? How can the shifting forms of the war be contained and channeled toward a future lasting peace?

These types of questions are not specific to the war in Ukraine but arise in any situation of war. Every war forces us to reconsider the character of war and the forms that it can take. In the first place, the insight that leads to a war is one about the nature of a conflict. War only begins once the parties determine that there is an otherwise irresolvable conflict about the basis of order. The course of a war also results in a practical insight into the form of a postwar order. Peace and stability cannot arrive until all come to an agreement about the new understanding of order. This intertwining of practical and theoretical gains means that the time of war is also a time of shifting manifestations of the forms by which war is fought, as well as the forms of order to be established by the outcome of the war. The course of a war will be decided by our understanding of the kind of world we want to live in, the risks we are willing to take to establish such a world, and our belief in its practical possibility. A war will necessarily change in form depending upon where we are in the movement from the conflict of competing ideas to the victory of a particular conception of order. Since the result of the conflict would be an establishment of sovereignty based on some understanding of order, the conflict is not just a material one but also a theoretical and spiritual one about the metaphysical basis of order. In the process of war, insight leads to conflict, and conflict leads to insight.

At the 2023 Telos-Paul Piccone Institute conference on forms of war, we will consider different ways of understanding the relationship between conflict and insight in war as well as examples of how the conceptualization of conflict affects the outbreak, progress, and outcome of wars. On the one hand, we will consider the way in which the experience of war, both on the battlefield and on the home front, affects the outcome of the war. On the other hand, we will look at how this importance of the experience of war in turn affects the strategy of war. Such strategizing begins already at the nascent stages of conflict, before any actual fighting begins, but in which the possibility of conflict can already lead to concessions by one side or the other that lead to a transformation of the basis of order. Similarly, fears and hopes for the future also determine the course of a war, helping the participants to end a war by offering them a mutually acceptable vision of the terms of peace.

Questions include:

  • What are the different causes of war in any particular case? How do these causes attain such significance that they become a casus belli? Were there alternatives to war that were not taken?
  • In what situations does the refusal of war lead to an outcome that is tantamount to surrender in war? How can the threat of war be used as a political tool?
  • To what extent is war a continuation of politics? Or is war the breakdown of politics?
  • How have different wars been experienced on the battlefield and on the home front? How have the different experiences of war affected the outcomes?
  • How does our understanding of world order affect the turn to war?
  • What is the relationship between war and peace in terms of international order?
  • How do fictional or historical representations of war affect the conduct of war?
  • What is the relationship between war and the collective identity of a people?
  • How are wars between nation-states linked to their domestic politics? In what situations does an external enemy create unity or division in domestic politics?
  • How is war used as a tool in domestic politics, for instance, as a way to divert attention from domestic political problems?
  • What are the characteristics of different types of war, such as limited war, absolute war, civil war, cold war, proxy war, phony war, trade war, guerilla war, war on terror, nuclear war? What factors lead to a war being fought in a particular way?
  • To what extent can a representation of war replace a real war, for instance, when single combat is supposed to substitute for the combat of armies, or when war is televised?
  • What is the relationship between spiritual concerns and the forms of war? Are all wars in some sense religious wars?

Conference Location

The conference will take place at the John D. Calandra Italian American Institute in New York City from Thursday, March 30, to Saturday, April 1, 2023.

Abstract Submissions

Please note: Abstracts for this conference will only be accepted from current Telos-Paul Piccone Institute members. In order to become a member, please visit our membership enrollment page. Telos-Paul Piccone Institute memberships are valid until the end of the annual New York City conference.

If you are interested in making a presentation, please submit a 200-word abstract and 50-word bio by December 15, 2022, to telosnyc2023@telosinstitute.net. Please place “The 2023 Telos Conference” in the email’s subject line.

Jun
17
Sat
Night in the Library: The Philosophy of Hip-Hop @ Central Library
Jun 17 @ 7:00 pm – Jun 18 @ 2:00 am

2023 marks the 50th anniversary of the birth of hip-hop, and the beginning of a sonic, cultural and socio-political revolution that changed the U.S. and the world. To commemorate the anniversary, Brooklyn Public Library will present NIGHT IN THE LIBRARY: THE PHILOSOPHY OF HIP-HOP on Saturday, June 17th, from 7 pm – 2 am at Central Library.

Join us for this FREE event that will take over the entire Central Library building to celebrate hip-hop culture past, present and future, with keynote addresses, live DJs, film screenings, discussions, debates and contemplative engagements. BPL invites you to celebrate hip-hop and spend a NIGHT IN THE LIBRARY.

Co-curated by LeBrandon Smith and Kelly Harrison. The Dilemma Series is curated by April R. Silver, founder of AKILA WORKSONGS.

Aug
1
Tue
The 16th International Conference on Brain Informatics @ Stevens Institute of Technology
Aug 1 – Aug 3 all-day

The International Conference on Brain Informatics (BI) series has established itself as the world’s premier research conference on Brain Informatics, which is an emerging interdisciplinary and multidisciplinary research field that combines the efforts of Cognitive Science, Neuroscience, Machine Learning, Data Science, Artificial Intelligence (AI), and Information and Communication Technology (ICT) to explore the main problems that lie in the interplay between human brain studies and informatics research.

The 16th International Conference on Brain Informatics (BI’23) provides a premier international forum to bring together researchers and practitioners from diverse fields for presentation of original research results, as well as exchange and dissemination of innovative and practical development experiences on brain Informatics research, brain-inspired technologies and brain/mental health applications.

The key theme of the conference is “Brain Science meets Artificial Intelligence“.

The BI’23 solicits high-quality original research and application papers (both full paper and abstract submissions). Relevant topics include but are not limited to:

  • Track 1: Cognitive and Computational Foundations of Brain Science
  • Track 2: Human Information Processing Systems
  • Track 3: Brain Big Data Analytics, Curation and Management
  • Track 4: Informatics Paradigms for Brain and Mental Health Research
  • Track 5: Brain-Machine Intelligence and Brain-Inspired Computing

Keynote Speakers

Professor Emery N. Brown

MIT, Massachusetts General Hospital, USA

ProfileEmery Neal Brown is the Warren M. Zapol Professor of Anesthesia at Harvard Medical School and at Massachusetts General Hospital (MGH), and a practicing anesthesiologist at MGH. At MIT he is the Edward Hood Taplin Professor of Medical Engineering and professor of computational neuroscience, the Associate Director of the Institute for Medical Engineering and Science, and the Director of the Harvard–MIT Program in Health Sciences and Technology. Brown is one of only 19 individuals who has been elected to all three branches of the National Academies of Sciences, Engineering, and Medicine, as well as the first African American and the first anesthesiologist to be elected to all three National Academies.

Professor Bin He

Carnegie Mellon University, USA

ProfileBin He is the Trustee Professor of Biomedical Engineering, Professor of the Neuroscience Institute, and Professor by courtesy of Electrical and Computer Engineering at Carnegie Mellon University. Dr. He has made significant research and education contributions to the field of neuroengineering and biomedical imaging, including functional biomedical imaging, noninvasive brain-computer interface (BCI), and noninvasive neuromodulation. His pioneering research has helped transforming electroencephalography from a 1-dimensional detection technique to 3-dimensional neuroimaging modality. His lab demonstrated for the first time for humans to fly a drone and control a robotic arm just by thinking about it using a noninvasive BCI. He is an elected Fellow of International Academy of Medical and Biological Engineering (IAMBE), American Institute of Medical and Biological Engineering (AIMBE), Biomedical Engineering Society (BMES), and IEEE. Dr. He served as a Past President of the IEEE Engineering in Medicine and Biology Society, the Editor-in-Chief of IEEE Transactions on Biomedical Engineering from 2013-2018, the Chair of the International Academy of Medical and Biological Engineering from 2018-2021. Dr. He has been a Member of NIH BRAIN Initiative Multi-Council Working Group from 2014-2019.

Professor John Ngai

NIH BRAIN Initiative, USA

ProfileJohn J. Ngai, Ph.D., is the Director of the NIH’s Brain Research Through Advancing Innovative Neurotechnologies (BRAIN) Initiative. Dr. Ngai earned his bachelor’s degree in chemistry and biology from Pomona College, Claremont, California, and Ph.D. in biology from the California Institute of Technology (Caltech) in Pasadena. He was a postdoctoral researcher at Caltech and at the Columbia University College of Physicians and Surgeons before starting his faculty position at the University of California at Berkeley. During more than 25 years as a Berkeley faculty member, Dr. Ngai has trained 20 undergraduate students, 24 graduate students and 15 postdoctoral fellows in addition to teaching well over 1,000 students in the classroom. His work has led to the publication of more than 70 scientific articles in some of the field’s most prestigious journals and 10 U.S. and international patents. Dr. Ngai has received many awards including from the Sloan Foundation, Pew Charitable Trusts, and McKnight Endowment Fund for Neuroscience. As a faculty member, Dr. Ngai has served as the director of Berkeley’s Neuroscience Graduate Program and Helen Wills Neuroscience Institute. He has also provided extensive service on NIH study sections, councils and steering groups, including as previous co-chair of the NIH BRAIN Initiative Cell Census Consortium Steering Group. Dr. Ngai oversees the long-term strategy and day-to-day operations of the NIH BRAIN Initiative as it strives to revolutionize our understanding of the brain in both health and disease.

Professor Helen Mayberg

Icahn School of Medicine at Mount Sinai, USA

ProfileHelen Mayberg is a neurologist recognized for her neuroimaging studies of brain circuits in depression and their translation to the development of deep brain stimulation as a novel therapeutic for treatment resistant patients. Born and raised in Southern California, she received a BA in Psychobiology from UCLA and a MD from the University of Southern California, then trained in Neurology at Columbia’s Neurological Institute in New York and did a research fellowship in nuclear medicine at Johns Hopkins. She had early academic appointments at Johns Hopkins and the University of Texas Health Sciences Center in San Antonio, held the inaugural Sandra Rotman Chair in Neuropsychiatry at the University of Toronto, the first Dorothy C. Fuqua Chair in Psychiatric Imaging and Therapeutics at Emory University and is now the Mount Sinai Professor of Neurotherapeutics at the Icahn School of Medicine where she is founding Director of the Nash Family Center for Advanced Circuit Therapeutics. She is a member of the both the National Academy of Sciences and the National Academy of Medicine as well as the National Academy of Inventors and American Academy of Arts and Sciences.

Professor Vinod Goel

York University, Canada

ProfileVinod Goel is a professor of cognitive neuroscience at York University, Toronto, Canada. He completed his PhD in cognitive science at UC-Berkeley, and received postdoctoral training in neuroscience at the NIH (NINDS) and the Wellcome Department of Cognitive Neurology, Institute of Neurology, UCL, UK. He has made significant empirical contributions to our understanding of the roles of prefrontal cortex in real-world problem solving and reasoning, hemispheric asymmetry in prefrontal cortex, and models of rationality, using the methodologies of fMRI and lesion studies. He has most recently completed a book reconstructing the role of rationality in human behavior entitled “Reason and Less: Pursuing Food, Sex, and Politics” (The MIT Press, 2022). His current project is to explore the implications of this work on our understanding of reason and legal responsibility.

Professor Amy Kuceyeski

Cornell University, USA

ProfileAmy Kuceyeski is an Associate Professor of Mathematics and Neuroscience in Radiology at Weill Cornell Medicine and the Computational Biology Department at Cornell University. She is the director of the Computational Connectomics (CoCo) Laboratory and the Machine Learning in Medicine group at Cornell. Over the past 14 years, she has been working to understand the human brain using quantitative modeling approaches, including machine learning, to map anatomical and physiological characteristics to behavior. Specifically, she is interested in understanding how brains recover from injury so we can devise strategies, possibly via non-invasive neuromodulation, to support natural recovery processes. She also performs research at the intersection of biological and artificial neural networks that aims to understand how human brains process incoming visual information.

Professor Patrick Purdon

Harvard Medical School, USA

ProfilePatrick L. Purdon, Ph.D., is an Associate Professor of Anaesthesia at Harvard Medical School and the Nathaniel M. Sims Endowed Chair in Anesthesia Innovation and Bioengineering at Massachusetts General Hospital.  Dr. Purdon received his A.B. in Engineering Sciences from Harvard College in 1996, his M.S. in Electrical Engineering from MIT in 1998, and his Ph.D. in Biomedical Engineering from MIT in 2005.  Dr. Purdon’s research in neuroengineering encompasses the mechanisms of anesthesia, Alzheimer’s disease and brain health, anesthesia and the developing brain, neural signal processing, and the development of novel technologies for brain monitoring. He has published over 90 peer-reviewed publications, is an inventor on 16 pending patents, and is a Fellow of the American Institute for Medical and Biological Engineering.  Dr. Purdon has won numerous awards, including the prestigious National Institutes of Health Director’s New Innovator Award.

Important Dates

  • 15 April 2023: Full paper submission deadline
  • 20 April 2023: Workshop proposal deadline
  • 10 May 2023: Abstract presentation submission deadline
  • 30 May 2023: Final paper and abstract acceptance notification
  • 20 Jun 2023: Accepted paper and abstract registration deadline
  • 1-3 Aug 2023: The Brain Informatics Conference

Paper Submission and Publications

Full Paper (Regular):

1. 9-12 pages are strongly encouraged for the regular papers including figures and references in Springer LNCS Proceedings format(https://www.springer.com/us/computer-science/lncs/conference-proceedings-guidelines). Over length papers will be charged for 100$ per page.
2. All papers will be peer-reviewed and accepted based on originality, significance of contribution, technical merit, and presentation quality.
3. All papers accepted (and all workshop & special sessions’ full-length papers) will be published by Springer as a volume of the Springer-Nature LNAI Brain Informatics Book Series(https://link.springer.com/conference/brain).

Abstract (Only for Workshops/Special Sessions):

Research abstracts are encouraged and will be accepted for presentations in an oral presentation format and/or poster presentation format. Each abstract submission should include the title of the paper and an abstract body within 500 words. The abstract will not be included in the conference proceedings to be published by Springer.

Journal Opportunities:

High-quality BI conference papers will be nominated for a fast-track review and publication at the Brain Informatics Journal, (https://braininformatics.springeropen.com/) an international, peer-reviewed, interdisciplinary Open Access journal published by Springer Nature. Discount or no open access article-processing fee will be charged for BI conference paper authors.

Special Issues & Books Opportunities:

Workshop/special session organizers and BI conference session chairs may consider and can be invited to prepare a book proposal of special topics for possible book publication in the Springer-Nature Brain Informatics & Health Book Series (https://www.springer.com/series/15148), or a special issue at the Brain Informatics Journal.

Poster-Conference Publication

1. Accepted full papers will be selected to publish in the Brain Informatics Journal upon revision.

2. Discount or no article-processing fee will be charged for authors of Brain Informatics conference (https://braininformatics.springeropen.com/).

3. The organizers of Workshops and Special-Sessions are invited to prepare a book proposal based on the topics of the workshop/special session for possible book publication in the Springer-Nature Brain Informatics and Health book series (http://www.springer.com/series/15148).

 

https://philevents.org/event/show/109301

Feb
2
Fri
Nietzsche and Music @ Arnold Hall rm i400
Feb 2 @ 6:00 pm – 8:30 pm

Nietzsche (1844-1900) is one of the few philosophers who have an intimate connection to music. This connection has much to do with his early music education. His contemporaries testify that he was a good pianist. His musical ambition, or his musical daimon, urged him to compose music, although he had no training in this area. Most of his compositions are from his late teens; his earliest inspirations are Beethoven, Mozart, Haydn, Schubert, Schumann and Wagner. His compositions were gathered together and published by Curt Paul Janz in Friedrich Nietzsche, Der musikalische Nachlass. Nietzsche’s music is available in several productions. However, Nietzsche did not follow a musical path and decided to become a philologist and dedicated his life to writing and philosophy.

Nietzsche’s background in music, on the other hand, influenced his way of thinking and writing. All of these interesting areas between music, literature, and philosophy and Nietzsche’s relationship to music understood on a broad spectrum have been explored by many Nietzsche scholars including Georges Liébert, Graham Parkes, Francois Noudelmann, Stefan Lorenz Sorgner and others and in the anthology, An Anthology on Nietzsche and Music: Philosophical Thoughts and Musical Experiments, edited by the presenters of today’s event. This event is dedicated to the exploration of this relationship between Nietzsche and music.